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When they first came on the scene, A$AP Ferg and A$AP Rocky offered two very different perspectives on rap’s new Harlem. In Rocky’s case, he brought a strong sense of fashion, with musical branches extending to Houston and Atlanta. Ferg stayed with the conventions of trap music, though his cadence and lyricism diverted from the genre’s formulaic sound. And just like that, theTrap Lordwas born. His debut was aptly titled, full of chest-beating cuts that suggested Ferg was artsier than Rocky and slightly more overbearing—the Kanye to his Jay. But what happens when you’ve run out of superlatives for yourself and self-reflection kicks in? Well, you work in reverse, which is exactly where Ferg resides on his follow-up project Always Strive and Prosper. If Ferg secured a strong group of followers off Trap Lord, then his new album will surely lock them down as a cult.

An argument could be made that ASAP is the prequel to Trap Lord, where we’re finally understanding the Bruce Wayne before the Batman. But the underlying self-awareness suggests that Ferg has tasted fame and rejected the poisonous parts. The opener “Rebirth” makes that declaration in no uncertain terms. Over a joint production effort of DJ Khalil and Clams Casino, a chopped-and-screwed Ferg talks to himself: “Now that you’re no longer a lord that’s trapped/ You have graduated to the Hood Pope/ You have made it to represent your people/ Show them another way/ Be the voice of the people who couldn’t make it out the hood.”

This is no longer about A$AP Ferg, but Darold Ferguson, Jr. (Ferg’s given name), who came back home after being out in the world to report on what he’s seen. Production-value is high, with Ferg enlisting top-tier beatmakers like the aforementioned DJ Khalil but also No I.D., DJ Mustard, and even Skrillex. But the beats take a backseat to the lyrics. The overall sound remains intact, but he’s even more invested in what he’s saying.

The track “Strive” brings a deep house vibe—compliments of Mustard and Stelios Phili—as Ferg shares the cautionary tale of sitting at a basic job with bigger dreams but refusing to trap like the rest of them. Missy Elliott is the icing on the cake, bringing an evenly ambitious verse, turning what could have been a simple dance track into something so much more. Missy isn’t the only notable collaborator on the project. ASAP boasts an all-star lineup ranging from Chris Brown and Ty Dolla $ign on the breezy “I Love You” to Rick Ross on the violently spacey “Swipe Life” and even Chuck D on “Beautiful People,” also featuring his Mama Ferg. The family theme runs throughout Always Strive and Prosper. The idea of affording luxuries for his mother remains at the forefront (buying his mama a house on “Swipe Life”), but so does his family in general. His Uncle “Psycho” gets his own song, as does his “Grandma,” and there’s a strong desire on Ferg’s part to be a family man.

Stargate makes a smart appearance, producing “Let You Go,” which has the capacity to own the summer on beat alone, as does “Let It Bang” with ScHoolboy Q, only in an entirely different part of town. The deluxe version caps off Always Strive and Prosper with one vital cut—the quintessential New York joint “Don’t Mine” with French Montana and Fabolous—and one recklessly unnecessary one, the aggressively average “Back Hurt” with Migos. While Ferg is aware of his new station in music, there a few slip-ups where he falls back on style over substance. But not nearly enough to disqualify his epiphany.

There’s an important allegory woven through the fabric of A$AP Ferg’s Always Strive and Prosper: A$AP Ferg likes his fame, but doesn’t need it. He’s making this transition from Trap Lord to Hood Pope, attempting to address his congregation of all the perils that come with celebrity. It’s a vulnerable position in which to be in, following a self-proclaimed lord status. But strip away the features, strip the beats, strip the quirky nicknames, and you’re left with Darold’s wise words, coming through loud and clear.